V.A / Intransitive Twenty-Three ( 2CD int023 USA ) Music by Jonathan Coleclough & Colin Potter, nmperign, Atau Tanaka, Olivia Block, Ronnie Sundin, Magali Babin, Nerve Net Noise, Gal, Le Quan Ninh, Artificial Memory Trace, das Synthetische Michgewebe, Frans de Waard, Haco/View Masters, Hideaki Shimada, Francisco Lopez, Eric La Casa,Lethe, Giuseppe Ielasi, Alexandre St.Onge, Birchville Cat Motel, and Thomas Ankersmit. I love compilations. Always have, ever since I started listening to music. A compilation is like an extension of a mix-tape, similar to those that I used to make in high school for my friends. It's a way of saying "Here is all the music that I'm excited about right now, collected in one place for you". Of course, a record label is also an extension of this enthusiasmﾉ I've been publishing electro-acoustic music for seven years now, and my excitement about it has only grown. I'm always hearing new stuff, or becoming charged about some artist's development or new projects. A compilation is a fine way for me to take stock of what music I'm listening to and step back for a moment to gather the best of it in one place. In a perfect world (one in which I suddenly became a millionaire overnight), I would publish 50-CD boxsets by everyone on this album. For now, though, Intransitive Twenty-Three should provide plenty for a listener to chew on, and some directions in which to continue exploring. As is true with all Intransitive releases, my concern is not one of refining some particular label aesthetic; to me, it's much more interesting to publish whatever I find interesting, and to let listeners make connections between disparate artists, approaches, and sounds. My hope is that one cannot know precisely what to expect from the label, but that some intuitive coherence emerges with time. That's not for me to worry about, though: there's too much great music to be heard now! Of Intransitive's previous 2CD compilation, Variious, the critic Michael Heumann wrote in Stylus Magazine that he found the album "especially interesting because it so effortlessly bridges that imaginary gap between 'popular' and 'serious' electronic music, in the process demonstrating that those terms mean absolutely nothing. When I listen to Variious, I hear music and just music, and that's all I should hear when I listen to music". Right on! I'm aware that the artists compiled on these CDs (and on Intransitive's releases in general) may be coming from very different conceptual or compositional places, but to these ears, all of this sound makes sense together. Just in case, I imposed a limitation on the artists: no one was allowed to use anything digital in the composition of their piece. And there you have it. -Howard Stelzer, Intransitive Recordings.